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I like film...(open thread)


Doc Henry

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Summertime V

HB 205; FE 2/110; Portra 400

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Really intriguing and so spot on, Phil. The one at the right looks like the Mummy's face in a sandstorm from one of those movies a while back.

On 8/8/2020 at 4:54 AM, stray cat said:

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anthropomorphisms 1980

canon A1, agfapan 25

Great use of the spot meter Klaus.

22 hours ago, Kl@usW. said:

Summertime IV

HB 205, Distagon 3,5/30; Kodak Ektar 100

 

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Some more fun fair fun.

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Flickr
TTL 50/1.4A Superia 1600 CS9000
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9 hours ago, Xícara de Café said:

Nikon F2 Photomic, Micro-Nikkor 55mm 1:2.8 @ f/4, Ilford FP4+ 125 @ 100, PMK 1:2:100.

"Have I reached the party to whom I am speaking?" famed comedienne Lilly Tomlin would ask. This must be in a museum, and that Rietveld style "military table stand" (1923) with half-lapped oak has Bauhaus DNA. It's not surprising that Steve Jobs might have based the whole concept of iPhone design on this model. That 55 Micro-Nikkor rocks.

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Zone Radio
M-A APO 50 Fuji Natura
Companion piece for Xicara de Cafe's party line, though I was probably more in a Chernobyl state of mind.
 

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25 minutes ago, Ernest said:

"Have I reached the party to whom I am speaking?" famed comedienne Lilly Tomlin would ask. This must be in a museum, and that Rietveld style "military table stand" (1923) with half-lapped oak has Bauhaus DNA. It's not surprising that Steve Jobs might have based the whole concept of iPhone design on this model. That 55 Micro-Nikkor rocks.

Ha, great quote! This old Ericsson switchboard is actually here at home. I've been restoring it or rather modernising it. It's now a fully functional PBX system. It can even call you up automatically on a Sunday evening and put you on hold. It's eventually going to be used in a live theatre/performance project that I'm involved in with my wife (the performer). I designed and built the stand and yes, I based it on Rietveld's furniture, well spotted! 🙂 Later I'll post a colour photo showing the whole thing. Cheers 

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1 hour ago, Xícara de Café said:

Ha, great quote! This old Ericsson switchboard is actually here at home. I've been restoring it or rather modernising it. It's now a fully functional PBX system. It can even call you up automatically on a Sunday evening and put you on hold. It's eventually going to be used in a live theatre/performance project that I'm involved in with my wife (the performer). I designed and built the stand and yes, I based it on Rietveld's furniture, well spotted! 🙂 Later I'll post a colour photo showing the whole thing. Cheers 

Live theatre with the Ericsson and your wife performing! Sounds very intriguing. It could be anything from Bob Newhart to Samuel Beckett. I look forward to your photographs of the event. I am so envious of your Ericsson. What a find, and your restoration bringing it to life gives me a flashback to James Whale's Frankenstein when Dr. Waldman exclaims at the moment of the Creature's reanimation, "It's alive! It's ALIVE!" 

To top it off, I have been a Gerrit Rietveld fan since the 70s when I purchased Daniele Baroni's The Furniture of Gerrit Thomas Rietveld, which you have, no doubt, for its scale shop drawings. For longer than I can admit, I have threatened myself to build a Rietveld Berlin Chair. Some day. Thanks for punching a lot of buttons on my switchboard.

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22 hours ago, Xícara de Café said:

Nikon F2 Photomic, Micro-Nikkor 55mm 1:2.8 @ f/4, Ilford FP4+ 125 @ 100, PMK 1:2:100.

I'll spare the memories but this takes me back ... Good luck with the play and hope you manage to take photos in the theater.

13 hours ago, Xícara de Café said:

Wonderful cameras and lenses. I have a 1950 if not December 1949 iia (a very early serial number) but the lens is uncoated pre-war. It still does a great job in bright conditions. I had posted the photos here before early in the year,  but here they are again. All the best! :

 

 

Beautiful tones and enigmatic photographs.

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The chard is of no nutritional use any more. It has changed its identity into something ornamental. 

MP; S´rit 2,4/90; Portra 160@100

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Edited by Kl@usW.
wrong lens
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Thanks very much Ernest and Bateleur, will send photos of the event for certain, although it may be some time away. Ernest, you have to build the chair! 🙂 Here is the the full length photo taken with the Micro-Nikkor 55mm again and with Kodak ProImage film:

 

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That's a couple of fine pieces, Xícara. And what a beautiful room for it to dwell in!

This one's a bit of a cheat. I took the photo on digital during my short-lived digital phase in 2007. My digital phase was short-lived largely because all of the digital photos from this 7-month around the world trip subsequently got obliterated by a Macintosh head crash coupled with a backup drive that failed to restore. Oh, that and I never took to the look of digital anyway. So why is it here in the "I Like Film" thread you may well ask? Well, I had a small jpeg of this photo on my Zenfolio page which I showed to a rather astute fellow (Hi Rog!) who recommended I make a print of the photo, shoot it on film, and then it would be eligible to be posted here. So I did! Anyway I like it because it's red:

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notice board, orvieto, italy 2007

olympus E1 rephotographed using canon F1N, 100mm macro, Agfa Vista 400

 

 

Edited by stray cat
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Fuji Astia 100F 35mm reversal film (RAP 100), D25, CONTAX

Edited by Erato
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•  'Stuttgart Acropolis', economical version😀  •

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Lynn in the kitchen.

M2, HP5+

 

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16 hours ago, Xícara de Café said:

Thanks very much Ernest and Bateleur, will send photos of the event for certain, although it may be some time away. Ernest, you have to build the chair! 🙂 Here is the the full length photo taken with the Micro-Nikkor 55mm again and with Kodak ProImage film:

 

What a classic portrait, and that flooring. I am guessing mahogany, or is it something more exotic, like cocobolo? Your woodworking skill is not to be overlooked, and the homage to Rietveld does honor to the master of minimalism. It's no easy task to execute a design, like you've done here, that seems to capitalize on floating lines with no apparent fasteners, other than half-laps and hidden dowels. Maybe biscuit joinery? Applause, applause. Break a leg on the theatre production.

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14 hours ago, stray cat said:

That's a couple of fine pieces, Xícara. And what a beautiful room for it to dwell in!

This one's a bit of a cheat. I took the photo on digital during my short-lived digital phase in 2007. My digital phase was short-lived largely because all of the digital photos from this 7-month around the world trip subsequently got obliterated by a Macintosh head crash coupled with a backup drive that failed to restore. Oh, that and I never took to the look of digital anyway. So why is it here in the "I Like Film" thread you may well ask? Well, I had a small jpeg of this photo on my Zenfolio page which I showed to a rather astute fellow (Hi Rog!) who recommended I make a print of the photo, shoot it on film, and then it would be eligible to be posted here. So I did! Anyway I like it because it's red:

notice board, orvieto, italy 2007

olympus E1 rephotographed using canon F1N, 100mm macro, Agfa Vista 400

 

 

This is such a provocative work on a number of levels. The presence of absence, the fragmentation, hints of ruin architecture, compositional elements, the sense of movement in stillness, and tonal grain. 

The gap allusion by what is missing is forceful; there are only shards, paper scraps, that only allude to fragments of rectangular sheets. The hint of calligraphy. It calls to mind an art book I just received by Brice Marden titled Think of Them as Spaces--abstract calligraphic passages ordered on paper, reminiscent of Jasper Johns's alphabet series. Only your work here does not afford the luxury of signs easily deciphered. These are fragments that float over a flat landscape of cadmium red. It calls to mind, simultaneously, the 18th-century vogue of the preoccupation of architectural ruins, a vogue that carried into British Romanticism. One oft-cited example is John Keats's ode "On Seeing the Elgin Marbles," the marbles being the ruins of Greek sculptures Lord Elgin moved to England, a controversy that persists, today.

The subtle grain of film does what cinematographers did shooting film in the sixties and seventies--pushing and flashing--to take the inherent sharpness out of Kodak's 5254 film. For example, Vilmos Zsigmond used this lab technique on Spielberg's first feature film, The Sugarland Express.

I am anxious to experiment with this, so thanks for pushing this on stage.

The way that the cadmium yellow fellow downstages everyone else is really quite entertaining. The work needs a grand theatre. Thanks, Phil.

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Continuing a bit the theme on gothic Bavarian Churches. Here a picture from the Klosterkirche Fuerstenfeldbruck. To me it seemed that the artist purposefully created the Putto in such a way that the golden ornament seems to irritate his eye and causes his exasperating expression. Entertainment from around 1750...  

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MP, 35, ProImage100

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7 hours ago, Ernest said:

What a classic portrait, and that flooring. I am guessing mahogany, or is it something more exotic, like cocobolo? Your woodworking skill is not to be overlooked, and the homage to Rietveld does honor to the master of minimalism. It's no easy task to execute a design, like you've done here, that seems to capitalize on floating lines with no apparent fasteners, other than half-laps and hidden dowels. Maybe biscuit joinery? Applause, applause. Break a leg on the theatre production.

Thanks again Ernest! Re. the floor: no one can harvest that wood anymore to use on floors or in construction, its protected. It's called "pau brasil" - Brazil wood. It was originally harvested to extract the red pigment that was used to make dye and the trade in it was so profitable, they decided to name the country after it. There's a variety of it from the north east called pernambuco in English (named after the Brazilian state) which is used on every fine stringed instrument bow since i don't know when. That's the only permitted use for the wood.

No dowels or fasteners used on the stand, just glue. There's 16 joins so it's pretty solid and I did check the design with a woodworking forum before building it as the switchboard weighs over 20Kg - a professional there gave it the OK :-). The orange piece however is just sitting on the cross-bars. It's perfectly secure with the switchboard on top but i will probably attach it anyway with screws and brackets rather than glue, that way i can remove to touch up the paint when needed. I went traditional with the finish on the stand itself. It's lacquer.

Heading back to photography, here is my Stanley Bailey #3 :-). Same specs as the last colour photo:

 

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Ansco Memo (1927), Bausch & Lomb Anastigmat 60/3.5, Expired Svema 32

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